Lizzie Muller is a curator and researcher specialising in audience experience and interdisciplinary collaboration. She researches the future of museums as sites of knowledge production, and the relationship between curatorial practice and changing disciplinary structures. Her international exhibitions celebrate the intersection of art, science and technology. Lizzie is Chair of the Sydney Culture Network Education, Research and Innovation committee, and co-convener with Keir Winesmith of the bi-monthly Sydney Culture Data Salon.
Lizzie’s research draws together curatorial practice with theories and methods from participatory design and interaction design. She has developed audience-centred curatorial methodologies and innovative approaches to audience research. Her work with audience experience extends to the fields of preservation and archiving, particularly experiential documentation and oral histories of media art.
In 2018/19 Lizzie co-curated the exhibition Human Non Human with Katie Dyer at the Powerhouse Museum, Sydney. The show includes four commissions that speculate on human futures through the themes of food, work, sex and belief. Each work explores the entanglement of humans with non human agents and actors, including bees, jelly, data and buildings. The exhibition includes an experimental interactive digital catalogue that maps the interconnection of themes and ideas in the show: http://human-non-human.info/
In 2017/18 Lizzie co-curated (with Holly Williams) A Working Model of the World – an exhibition exploring the role of models in creating and sharing knowledge across all disciplines. The exhibition was staged in UNSW Galleries (May-July 2017), the Sheila C Johnson Design Centre, Parsons, The New School, New York (Sep-Dec 2017) and LifeSpace at the University of Dundee (June-Sep 2018).
Lizzie’s previous curatorial projects include Lively Objects at the Museum of Vancouver with Caroline Langill (2015); Awfully Wonderful: Science Fiction in Contemporary Art curated with Bec Dean at Sydney’s Performance Space (2011); The Art of Participatory Design, with Lian Loke, a programme of creative research projects that accompanied the 2010 International Conference of Participatory Design for which she was Art Chair; Mirror States, a major exhibition of interactive installations, curated with Kathy Cleland (Campbelltown Art Gallery, Sydney and MIC Toi Rerehiko, Auckland, 2008).
In 2008 Lizzie was curator and co-director (with George Khut) of the year-long interdisciplinary research project Thinking Through the Body funded by the Australia Council’s ArtLab. Between 2004-2006 Lizzie was founding curator of Beta_space; a dedicated venue for exhibiting “prototypes” of interactive artworks at the Powerhouse Museum, Sydney.
In 2013 Lizzie was Visiting Fellow at the University of Westminster, London and in 2009 she was Visiting Fellow at the Ludwig Boltzmann Institute for Media.Art.Research, Linz. In 2007 she was researcher in residence at the Daniel Langlois Foundation in Montreal.
Lizzie is Co-Investigator (with Prof. Jill Bennett and Prof. Lynn Froggett) of the ARC Linkage project Curating Third Space: The Value of ArtScience Collaboration. Industry partners in the project are The Australia Council; The Museum of Applied Arts and Science, Sydney; Australia’s Science Channel; Foundation for Art and Creative Technology, UK and The ArtScience Museum, Singapore.
Lizzie is Co-Investigator (with Dr Caroline Langill, OCAD University) on two SSHRC funded research projects: The Living Effect, investigating the notion of “aliveness” in media art objects, and Curating Lively Objects: Postdisciplinary Perspectives on Media Art Exhibition, in partnership with The Banff Centre, Canada. Together they are editing the forthcoming anthology Curating Lively Objects for Routledge.